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The visibility of the image : history and perspectives of formal aesthetics /
"Now available in English for the first time, The Visibility of the Image explores the development of an influential aesthetic tradition through the work of six figures. Analysing their contribution to the progress of formal aesthetics, from its origins in Germany in the 1880s to semiotic inter...
| Clasificación: | Libro Electrónico |
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| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés Alemán |
| Publicado: |
London ; New York :
Bloomsbury Academic, An imprint of Bloomsbury Publishing Plc,
2016.
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| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Cover; Half Title; Series; Title; Copyright; Contents; List of Figures; Foreword to the New Edition (2008); Introduction; 1 The Beginnings of Formal Aesthetics: Robert Zimmermann (1824-1898); 1.1 Formal logic as a model for formal aesthetics; Giving up the work and contemplation of the work; The trend in non-speculative aesthetics in the nineteenth century; Robert Zimmermann's forgotten programme; 1.2 The programme: A structural theory of the picture surface; Formalism and Herbartianism; Formalism versus idealism; Formal aesthetics: The observation of the visible form
- The relational concept of form in Herbartianism1.3 Perspectives and problems in Herbartianism; Preliminary remarks; Perspective: A non-idealistic concept of the work; The problem of beginnings: The objectivity of beauty; The danger of logicism; 2 Formal Aesthetics and Relational Logic: Alois Riegl (1858-1905); 2.1 Transitions on the pictorial surface; Preliminary remarks; 'Style' instead of 'beauty'; Painterly and haptic; Limits to ways of representing; 2.2 Kunstwollen (the will to art): Making unlike things the same; The double appearance of all things in nature
- Visibility and Kunstwollen (the will to art)Phenomenology of relations; Visibility as pre-conceptual rationality; 2.3 Intensional and extensional relational logic; Preliminary remarks; Relational logic and its need for completion; Sense and reference in images; Types of relational logic; The aesthetic grounding of relational logic; 3 The Logic of Ways of Seeing: Heinrich Wölfflin (1864-1945); 3.1 The relational logic of an image; Preliminary remarks; Plane - recession; The limits of pictorial abstraction; Closed form - open form; Multiplicity - unity; Clearness - unclearness
- Relational logical rules for imagesPairs of art historical principles as computer controls; Principles of colour relations: Colour contrast - colour convergence; 3.2 Formal and transcendental aesthetics; Preliminary remarks; The identity of representational forms and forms of intuition; The relational structure of perception; Space as a form of intuition; 3.3 The conditionality of perception; Differences in interest; Living mirrors; The conditions of the eye; Interests of the philosophy of life; Aesthesiology; The emancipation of purposeless perception
- 4 From the Way of Seeing to Visibility: Konrad Fiedler (1841-1895)4.1 The paradigms of formal aesthetics; Preliminary remarks; From beauty to a way of seeing; The depiction of a way of seeing; The invention of ways of seeing; From a way of seeing to pure visibility; Pure visibility versus dependent visibility; Pure visibility and ornament; 4.2 Images produced technically: 'For their visibility's sake alone'; Preliminary remarks; Avant-garde experiments with pure visibility; From silent film to video clip; The video clip